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  • Avant Craft Collection 2007

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    Pedro Góis
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    Four countries come together to express their own identity, in objects that arise from the fruitfulness of the memory through the creative capacity of designers and craftspeople. Identity is not static or monolithic; it is dynamic and plural, composite and of mixed origin. With time it is formed and transformed into the threads, the knots, and ties in which encounters and divergences, affections and silences, paths and projects are woven.

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    Four countries come together to express their own identity, in objects that arise from the fruitfulness of the memory through the creative capacity of designers and craftspeople. Identity is not static or monolithic; it is dynamic and plural, composite and of mixed origin. With time it is formed and transformed into the threads, the knots, and ties in which encounters and divergences, affections and silences, paths and projects are woven.

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    3K visualizações35 páginas

    Avant Craft Collection 2007

    Enviado por

    Pedro Góis
    Four countries come together to express their own identity, in objects that arise from the fruitfulness of the memory through the creative capacity of designers and craftspeople. Identity is not static or monolithic; it is dynamic and plural, composite and of mixed origin. With time it is formed and transformed into the threads, the knots, and ties in which encounters and divergences, affections and silences, paths and projects are woven.

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    Collection The force of persistel () cearte AvantCraft vesicn Collection AND MARKET. TRENDS IN CRAFTS The force of persistence © cearte Four countries come together to express their own identity, in objects that arise from the fuitfulness of the memory thraugh the creative capacity of designers and craftspeople. However, if asking about identity means asking that something or someone be defined in historical and cultural terms, trying to materialise the Atlantic identity of four peoples that border the same ocean through art seems an impossible task, a challenge that has no anchor, quay or destination, The force of persistence: the sea right under our skin Jodo Matia André But this is only until you discover that identity is not static or monolithic; it is dynamic and plural, composite and of mixed origin. With time itis formed and transfortned into the threads, the knots, and ties in which encounters and divergences, affections and silences, paths and projects are woven, We are what we touch and what touches us. And we are the marks, what remains with us ofthis touch and contact with others, with the world and, why not, with the sea as well. With its force in all its rnetamorphoses. ‘And while Ireland's inebriated by the force ofthe Iyric, while France is attracted by the force of seduction, while Spain is involved and is created in the force of ‘movement, we, inthis corner of Europe, mould and are moulded, sculpt and are sculpted and let ourselves be sculpted by the force of persistence that the s€2, in a union of wind, water, sun and sand, teaches us on the paths of the past and the clearings ofthe future, It is the force of persistence that with sweat carves the lines of time deep into skin hardened by the salt ofthe sea air. Itis the force of persistence that invents lacy limestone patterns on the stones adorned with seaweed and lost shells. tis the force of persistence that slowly tears the threads of ts secrets con the erasion of the racks and in the whelks gives us soothing music and the comfort oflight. And itis also the force of persistence that multiplies the foam on the water and on the sand in an affirmation ofthe ephemeral that wanders through the banks of ife Stating our Atlantic identity, which is perrnanently changing and weaving permanently, materials that we touch and are moulded to our touch like clay, porcelain or wood, to our breath and to our breathing like glass, o our touch like cloth or paper, to the solidity and brilliance of what dazzles us like steel or iron, is to say it in its erosion, in its filigree work, in its compositions, in its pasted and overlaid fragmentations in fractures and oscillating variations of incomplete syrametres, in the traces that remain, after the wave has gone, after the sun has gone, after the wind has gone. Stating our Atlantic identity, composite and of rited origin, isto tll tina It is the force dialogue of colours, of yellow and ochre, of white and blue, of black and green, of persistence that with ‘ur Atlantic identy through the force of persistence in dialogue with those who sweat carves the limes havebeenparnersin our adventure, ofthis advertute and ofall other adventures of time deep into skin which we are told of in myths, legends and stories, is also to allow the force of hardened by the salt persistence to be contaminated through the force of the lyric, to charm through the force of seduction and to get across through te force of movernent ‘of pink and brown, and of all the other colour inalltheir varieties, But stating of the sea air We are what we touch and wht touches us. Our Atlantic identity inthe force of persistence is as simple and as complex as the ocean in which we are born, which awakes us, which tore us asunder as we tore asunder to invent the future and in which one day we will come to rest, Our Atlantic identity isthe sea right under our skin Coimbra June 2007 45 More than a need, relations between the crafisperson and innovation, training and creativity are an imperative ard, in the end, something that is absolutely natural With a view to strengthening this interaction, CEARTE has developed the Avanteraft Project , which is involved in the innovation and trends of the craft market, and is supported by the INTERREG Programme. “Avant Crft- Young designers, new forms, new ways, new times forthe Atlantic Culture, whichis a project supported bythe Intereg II-B (priority D- Culture, An innovative Heritage and Tourism), has been developed over two-and-a-half years and : has been achieved through initiatives in four diferent countries: Portugal crafts project Ireland, France and Spain. In each of these countries, an institute has been working as a partner in Portugal, CEARTE - Centro de Formaio Profissional AvantCraft do Arcesanato, in Irland, the Crafts Counc of Ireland, in France, the Association ean Pole Regional des Métis d'Art and in Spain the Centro de Artesania y DiseRo de Lugo (Project Coordinator). A project with the characteristics and ambition of Avantcraft benefits from the critical, joint supervision of institutions that are concerned with the challenges that the future brings to Arts and Crafts. © cearte —ssssiyrrrer-rogumapinstronnssodos Ofsted Mico fps deasnts Pour rbu nouns one det Mmconpaie Chat ceakoge echoes tacos tegen cote fa tho Fo Pongu de hss Oke og oon arn at ania oma ees Pp cee Pape Dera cnte uve acne Pope pes oing aby aaacer eee neice bonnes sce ‘Through this project, which is based on the innovation of the craftsperson/ designer partnership, on international'sation and on rnarket trends, CEARTE seeks to contribute towards the necessary qualified innovation, in a large part of craft production, Using appropriate technologies, the aim is to produce top quality articles with high added value, with a strong image for the national and international roarket, Attaining experience : qualifying craftspeople in esign and trend analysis business management production organisation rrarketing promation cooperation A practical experience : improving the ‘competitiveness of a group of craftspeople + development of various product collections inspired bythe Atlantic euture and identity Trarket study naljsis of Vaditional culture related to the Atlantic Ocean implementation of design techniques + launch ofcllectons, establishing new ‘commercial links, hich enable a better informed public to be accessed, through ‘developing 4 regional national and International promotion plan + implementing new business techniques acapted tothe new concept (of cultural mier-company business management, production organisation and marketing + promotion of coaperation between Sell groups of erafspeople, industries and designers A future experience the bases basis for cooperation + practical experience of cooperation uring workshops, favouring the creation of synergies between smallikeminded groups + operative model of cooperation ‘occasional or permanent cooperation cooperation in various areas trend analysis product development, marketing ahd prometion Design and market trends in crafts AvantCraft Aims To promote the image of the identity of an Atlantic Space, through the design, development and promotion of various collections of products inspired by the Atlantic heritage, culture and landscape. ‘To improve the competitiveness of stnall craft companies, through partnerships between craftspeople and designers, trend analysis, incorporation of new technologies, inter-regional productive cooperation and joint promotion, To create a cooperation network between centres that promote design and crafts inthe participating countries, for the development of joint activities involving design, cultural creation and promotion of micro companies. Initiatives ‘The first stage of the project, in 2005, consisted of forming a tearn of 15 craftspeople and designers who, by participating in 6 weekend workshops, gained specific technical skils at the level of eraft markets. At the same time, a tearn of 4 resident CEARTE designers worked on developing the whole identity concept of the Atlantic Space. ‘This was based on research of elements of a patrimonial and artistic nature and symbolic of Portugal, with 2 focus on the sea, resulting in 2 strong final concept. This stage ended with a briefing on how to develop product collections. ‘The second stage ran throughout 2006, when 7 more craftspeople, 7 designers and 3 companies joined the initial group. This was based on the image of the Atlantic identity and inspired in the concept of Force - the Force of Persistence. Starting with traditional technologies, integrating Innovation and Design, they designed and developed product collections aired at a specific client type. The third and final stage of this project was reserved for 2007 and consisted of developing exhibitions to promote the Atlantic identity and the concept of Force of Persistence. It also involved organising all the questions of production and marketing of these new products, wth new design and better quality, with a strong local identity, better adapted to present global trends, on the part of the craftspeople and small companies, in partnership with designers. The persistence concept AvantCraft ‘The Avantcraft collection aims to promote and market the Atlantic Ident, which is something common to all the project partners. This is done by developing various collections of products inspired bythe Atlantic her culture and landscape. ‘The Atlantic Ocean, as an element that is common to the four countries, differs from other seas in its unique properties. The Atlantic is an Ocean that is grey, violent, terpestuous and strong. Force is the starting point for the concept developed by each country, and each has a specific way of expressing and identifying itself with the force element. Its this difference between cultures that brings us closer and makes us convey these same feelings in such different ways, Portugal has always had a very strong bond with the sea. The Atlantic has been the route used to give new worlds to the world, it was a place of great feats, where, as a people, we have perpetuated tenacity, culture, our way of being, persistence. The force of persistence is therefor concept explored by Portugal Each client is an individual, who, in an increasingly globalised world needs to assert him/herself on others, to stand out in society, to feel unique, The client type that served as the basis for the design and conception process of the Avantcraft collection is an individual with an informal style, aged between 30 and 50, who is dynamic and authentic. He likes simple, modern products, but with some aesthetically appealing details. . This mature, informal client enjoys spontaneity and teasing, they Client / tke amusement, modern products, but with a touch of baroque. Type They want useful objects with a symbolic value that havea story. Minimalism / Baroque AvantCraft Natural / Artificial Rural / Urban interactive Spontaneous human solidary provoker minimal baroque artificial rural natural urban Filigree_01 BRACELET DESIGN Sylvie Castro PRODUCTION César Silva RAW MATERIAL Silver TECHNIQUE Silver jewellery ‘size smrnx6x6 em (César Silva was born in 1976 and lives and wotks in Sobracelo és Gémma, Portugal. He has worked i the Jewellery Sector since 1g, and is the managing partner of Abel ‘Armando Siva, Founded in 158, a8 3 marx facturer of Traditional Portuguese Jewellery, today tis one of the oldest firms in Pévoa de Larhoso and in Portugal, and one ofthe few in the sector to hold the Traditional Jewellery Cerificate, for its filigree pieces. These have always been part ofits main production, but over the years, new prox cesses and its own design have been implemented. Crowns, relquares, medals brooches, nectlaees, grantebased products, beads of various types and sizes, as well as exclusive jewels are its main articles of, production, Numerous models have been Ceated that have always been traditional in nature but without forgeting the trends of. the as ify years and the ancent art expressed in each piace, Cesting and making rue werks- -ofart, with mastery and good taste, itbrings the at of former times to today Abel Armando Sika, Lds Penas. Sobradelo da Goma 4830 - 72 Pévoa de Lanhoso Portugal T 00351 253 941 304 F 00351253 942 880 0035: 967 678 824 £ info@portuguesezold.com wor portuguesegeld.com Filigree_02 NECKLACES BROOCH DESIGN Sylvie Castro PRODUCTION César Siva AW MATERIAL Silver TECHNIQUE Silver jewellery size Necklace» 5mmxsg.5 em Necklace 2 5mntnxg.5x6,5 em Broach 1,585,525,5 em Filigree_03 BROOCHES DESIGN Sylvie Castro PRODUCTION César Silva RAW MATERIAL silver TECHNIQUE Silver jewellery sie Brooch» 236,549 em Brooch 2 1x5,50x7,5 em Brooch 3 2x6X7,5 €m aa | | | Water books PLAY THING. Water, wind, time, energy, force and permanence, modification and shaping of the material. Reinterpreting nature inviting it to co-author each of these artefacts. DESIGN Jodo Nunes PRODUCTION Moinho da Carvalha Gorda Rus de Fez, 143, 2150-239 Porto Portugal 00351 936 198 512 E josorunes@ea.ua pt Joso Nunes was born in 195 in Vila Nova de Gata, Portugal He graduated in Graphic Design from FBAUP, the Faculy oie Arts ofthe Urivesty ‘of Porto, He was awarded a scholarship from the Calouste Gulbenkian Foundation and taughtin the aess of Photography and Design. He was part of the orgsnisation ‘of APDesigners,lograda 95, Bienal Gries \VN Ceres 8, 0 ford mentogem Port 95, and several others, He ha taken part in Several Intemational Exhibitions in Helin, Paris, Sofia, Barcelons, Istanbul, Tokyo, Kjote, Hong Kong, Milan ané Colorado. He has had work published in the publications Design and Oger, Who' Whoin Graphic Osi, owt Graphik Revita Gidea and Commun ian Are, How ané Chain, At present his research is focused on design 25a projectual tool for sustainable development, on Ciaf Design, on traditional, low-tech technologies and their reconfiguration forthe production ‘ofcanternporary objects tis with this focus ‘thathe presently teaches onthe Design course at the University of Aveiro. Moinho da Carvalha Gorda wae ces ted in 993, in Carnpia, Vouzele, Portugal. Is alm was to recover the European tradition of paper manufacturing, lost Portugal atthe end ofthe th century This method requires quality raw materials, natural textile fibres (cotton, lien and hemp), divided by colour ard quality, which, after maceration on the Hollander beater are transformed inte paper pulp. The paper is designed for the Arts rmatket, and is known for ts high resistance, great durabllty and cortect ph levels. Er renmertal eoncemis the eompary lasopey withthe recovery of waste forthe textile industey and the reuse of wate Its social vocation i centred around the visits of thou sand: of school and university students, as well staring courses and workshops. The company has always collaborated with the large ar events in Portugal the Bena de Are {6eVN Genera Bienal de Gravra da Amidon, Festival de Gravura de Evora and Encontro ée Ate Jovern, Water books NEW ARTEFACTS FOR ATLANTIC CULTURE ‘The force of persistence and the Atlantic objects. Object, from the Latin objectu, thrown forward s. m., everything that affects our feelings; ‘material thing; body; material, subject; end; purpose; intention; name; agent DESIGN Jodo Nunes PRODUCTION Moinho da Carvalha Gorda RAW MATERIAL Recycled cotton and natural materials found on the beach shaped by the permanent force of the water ECHNIQUE Manually produced paper, 100% recycled and ph neutral size Asngng em Moinho da Carvalha Gorda Papel para Artes, da 3670-057 Campia Portugal ¥ 00351232 750.670 F 00351232 750.077 E gerale@moirhodaeawahagorda pt ora mcinhodscarvalhagorda.pt 2637 Union of seas CENTREPIECE DESIGN Filipe Coimbra PRODUCTION Carlos Simses RAW MATERIAL Wood TECHNIQUE ‘Woodwork size Basx30,5x41 cm Carlos Simies was born in 197% in Santiago de Besteios, and lves and works in Caramulo, Portugal Born into a family of joiners, in which the grandfather was furniture maker and is father an innovator, Carlos SimBes grew up surrounded by wood and tols. He later decided to invest in a vocational ualifetion inthe aes ofjoinery giving hr the techies! perfection te open his own workshop in 1957, The Bat do Artesio's a space for exhibiting and promoting work, for interaction with the pubic, forthe exploration ofthe design ‘of pieces and colours, which consider the variety of woods, There is also a continuous investment in the production of more ‘creative pieces and in the participation in craft competitions. These partieipations have eared him a seres of prizes 1st prize and honourable mention athe FARAY Craft Fair ofthe Region of Aveiro 2004 and 1995, in creative crf, honourable mentions at the FIA (ltemational Cat Fain 2002 and 2004, as well sit prizein the jorar Competition (0998). In 2005, he piece Madras em Rostoe Fare, won st pie nthe category of Conte porary Craftsperson, atthe 8th edition of the FIA- International Caf Fai, Lisbon 2005 Bai do Artesio Avenida Dr Abel Lacerda 3475-081 Caramulo Portugal 1 00351232 861 245 M0035) 982 596 585 E baudoartesao@gmallcom 239 Puzzle TABLECLOTH AUTHOR Fillpe Falsca RAW MATERIAL Burrell TECHNIQUE Flock printing size 1g0x250 cm Filipe Faisea lives and works in Lisbon, Portugal He graduated in Fashion Design fom IADE- Institute of visual Arts an Marketing, Lisbon in 198s, and since 2006 has presented the File isa brand t Mods isboa (shone. He has designed and produced uniforms, Ines of accessories, wardrobes, showeases sed figurines for Lu réi Esler do Sedo, Bia do Sapato, Pap agord, Cultugest Noss Design, Ara Salazar Jota ales jonatss, Tt Cabral, vers, Fashion Clinic, Hermés Usbo, Mara National Theatre, Casa da Masia, S oo Natoral These, elem Cultural Centre, ‘Nada Natonal Theatre, Culurgest, Tirdade Theatre, Gulbenkian Foundation, Expo's, retro, ProdugBes Off nd 5, Catlos National “Theatre, Corte de cabeloby Joaquim Sapinho, ‘Aida iteratraby Susana Borges, Ad Bom by Joaquim Leto, In 1993 he was Ana Salazars assistant and later opened his own ‘ele From 1994-2008, he taught the subject oFfgurines at Capit and developed exper: rmertations and sjing for: ux, Ver Expo'98, Co-ensércias Experimenta Design, Barbie for Marie Clare and Qaiqueremehanga ‘inevtéve collective ehibtion ofreadp rade design in1gg7, at the Loja da Alalaain Lisbon Calgads do Combre, 99 200-112 Lisboa Portugal 1p 00351213 420 698 00351 915 544 807, £ Gisca@ilpefsisea.com wor flipesisa.com won Skirt of the tides CLOTHING ‘The marks in the sand that you found as a kid on deserted morning beaches stwust Fernando Nunes EXTILE CRAFTSWOMAN Estela Melo RAW MATERIAL Linen, cotton, organza TECHNIQUE Painting, gatherings, embroidery, naps Size Fernando Nunes was b01 in 1965 and lives and works in Oporto, Portugal, ‘Trained at CITEM - Porto, he then had work experience atthe CIM (Comite intermatonal ela ode) in Pars. He returned to Portugal |n 1988, and began teaching styling at CITEM Pott. In 1990 he went othe GUDI School, the present EMP (Porte Fashion Schoo}, were he stil eaches and coordinates the subject ofstying and he courses of fashion design and modelling, From 1993 to 2004 he worked with CEARTE in Corba on the cootdinstion and training of exile crafts courses. In ths fle, he designed conter- porary pieces, based on the knowledge of the county's textile craftspeople, and these ere shown at national ehibtions (Espo 38) andinthe est of Europe. In 2003, he planned the concept and design ofthe collections lof the mens clothing brand, Helbetica, In 2006 he designed the Winter 07/08 callecion for Dem Cellet, and was responsible for the image ofthe company and ite shops. At present, he is creative director of the ‘en's ealection Lion of Porches. 1M 00351 939 458375 fernandosviz@tvtel Estela de Melo wa: born in 1967, in Aveiro, Portugal In1985 she stated a Ci Engineering course in Coimbra, where shelater began the Tete Crafts course at Cearte in 2001, She attended several courses and workshops within the teste ares in Portugal, Holland and England, Since 2004, she has been devoted to Histone recreation, demonstrating the weal eee in Portugal, Spain and lly. She parscipsted ae speaker atthe Reciag Histérica 0 Desenel symento Comune (Hitari Recreation and Community Development) Conference, onthe subject of Grafs and Recreation in Obidos. In 2007 she created the brané So dos Balas, M 00351 962 822 607 F 00351239 707 131 F estelamelo@sape.st ory Messenger SOLITARY ‘The idea for the project came from the “message in a bottle” concept and the cooperation between design and crafts. Using advanced technologies, it was ‘possible to develop a new product concept. ‘The messenger can be a simple support for a flower or a written message. Its surface can be personalised with text. DESIGNER José Pombo RAW MATERIAL Composite material of plaster base coated with a resin TECHNIQUE Rapid prototyping, 30 Printing technology size 235,507 er José Pombo wss born in 1974, in Oeise, Portugal Post-graduate in Design Materials and Product Management at the University of Aveiro. He graduated in Industral Design from the IADE, Institute of Visual Ars, Design and Marketing in 1998. His first projects became recognised through his Dartipaton in Experimenta Design in 1999, and since then he hae éeveloped work in the area of product Design and Engineering. He is responsible for the area of models and prototypes, at the CTCY, he supervises and develops new products within the different structures, using advanced tools, and combining different technologies. He coordinates and develops traning courses and an exetnal consultancy in the area of product design and development Rua Catlos Seixas, 215-2686 $030 177 Coimbra Portugal M 00351 965 473 218 E pomboarture grailcom 3s Black I VASE CENTREPIECE SMALL VASES DESIGN Sénia Silva Filipe Coimbra PRODUCTION Olaria ArAntiga Molelos Clay ECHNIQUE Black Clay Ceramics size Vase 56,5x20x20 em Centrepiee 17427427 ern Small vase) 28,5416,5308,5 em Small vases 19308,5418,5 cm Small vase 15,5807%07 erm Olaria ArtAntiga was founded in 1990, in Molelas, Tondela, Portugal The company, which belongs to a new generation of potteries, is run by the brothers Luis and José Louresa. It was formed in 1990 by Luls, who was joined in 1992 by his brother, José, when he began his activity at the same pottery Over the years it has taken part in erat fairs and uhibitions both in Portugal and abroad, namely in Luxembourg, Switzerland and Germany. In an increasingly competitive rate, they aim to find new approaches and styles, The perfect finish, the sophis= ticsted forms and the effort put int is, marketing, mean that it productions play an important role in promoting tourism in the Borough of Moles. lara ArAntign Rua das Raposeiras, 136, Molelos 1470-225 Terdela Portugal T 00351 232 812.279 F oo3si 252 812 652, 00351 985 421 430 E artantigs@hotmail com oa Black I CENTREPIECE AUTHOR, Carlos Lima RAW MATERIAL Molelos clay ECHNIQUE Black Clay Pottery 20,5330,5156,5 em Carlos Lima Alexandra Monteiro live and workin Moles, Tondela, Portugal Their workshop is known as Barraca (Oeics and is located in Malelos, whieh is cone ofthe last places in which ceramics are processed by reductive firing that allows objects tobe obtained from black chy. objects are shiny and smooth tothe touch, with a stage of careful finishing that gives them a perfect, beautiful appearance, For them the future isin innovation, while malin taining the traditional finishes of the at of Molelos, these artists present daring and unusual forms, raking the mast of traditional techniques, in a activi that involves around ten potters in this vilage. The artist innova Lion alse ineludes new experiments in the composition of the raw material and in she technique of traditional oriental fring, Rak Awarded several times, it has succeeded in ‘making the transition between the region's cultural tradition and its art Barraca dos Oleiros Rua dae Silhas, 56 Molelos 3460-244 Tondela Portugal Toss 232 822 755, 1M 00351 962 559 024 E limaxcana@sapo 9 839 Black 01 VASES CENTREPIECE R Alexandra Monteiro Molelos clay Black Clay Pottery Vase gnigeaixat em Vase 2 17x3x43 em Centrepiece 21,9x29%44,5 ern wa Ceramics_01 tame AUTHOR Georgina Queiroz RAW MATERIAL Chay TECHNIQUE Ceramic Modelling Size 43144258 on Georgina Queiroz was bers in 1979, in Ovar, Portugal ‘She has been working inthe area of Ceramics since 1989, In her own Atelier, after refur- bishing one ofthe oldest potteies in Ovar Inthe same yearshebegan her specictrsining Invarius ates: Wheel Potten Ceramic Design, Management and Marketing, Cytllistion and Metallic Reflections, Raku, Sculpture and Ceramic Walls, Pups ard Clzes, among, ‘others. She teaches in these areas in varous Institutions such se: Cearte- Coimbra and ‘vie, Depatrnent of Education, FP, Cenc and EP of Aver, She ha taken partin indi dual ard colecive exhibitions in Aver, Viana do Castel, Coimbra, Lisbon, Barcelo, Bata, '. Marsnho do Porto, Oat, Porto, Braga and ‘Guimardes, and inthe Iberian Craft Seminars In Barcelona and at the Festival Imaginarivs In Fira. In 1995 she won the Regional Award {for Modern Crafts, as par of he Insitute of Employener ard Professional Tring National raft Competition Loja Oana 0 Caco Avenida da Régus, 197-199 3880-001 Ovar Portugal 00351256 586 872 M 00351 963 018 783, 28 Ceramics_02/_03 Lawes size 02 4014664 crn 03 Px4ox40 ern Ceramics_04 CENTREPIECE DESIGN Sénia Silva Filipe Coimbra PRODUCTION Georgina Queiroz RAW MATERIAL Chay ECHNIQUE Ceramic Modelling DIMENSKO. 2inaaxaa cm 4s Naturartemente ‘TABLE LAMP DOUBLE VASE The creative renovating force of the sea shapes the form in its entirety and also the cracks of light. Man intervenes and, at his pleasure, chooses the projection of light on the plane. ‘The natural erosive elements model the forms into their own indelible poetry. From the joint action (union) of these elements, the vases are articulated and develop into a symbiotic relationship. AUTHOR Diarmanatino Abreu MATERIAL Farthenware and polyester TECHNIQUE Treated and glazed size Lamp 40138425 cm Vase 2806016 em Diamantine Abreu was born in 1360, In Lisbon, Portugal. He graduated in Industrial Design from IADE--Instituteof Visual Ats and Marketing, in Lisbon 1998, and took a Masters in Multimedis Educational Communication at the Open University of Lisbon in 2008. He divides his aetvty between Teaching, Voestional Tsing, Product Design, Exh bition Design and Modelaking. The es- ponsbilty of Design in generating the paths for requalifing snd repositioning the know- ledge a the practical know-how intrinsic toa culture, region and county integrated in 1 global econorey, have ahuays been concerns ‘hatthis participation inthe Avarterat Project wllattept to answer Rua Miguel Bombarés, 55 Outeire de Polina 2785 - G02 Sie Dorsingos de Rana Portugal 1 eons 214.445 542 M0035) 917 818 585 E diamartinoabreughotmail com Byssi VASE ‘The idea of this project comes from the concept of intervention, with the effect of overlaying other “art” material, limiting only one side as an element vector of Force in creating ‘a new humanised identity. The material used is textured glass, silver or textile, forming a layer that enables each piece to be ‘personalised and animated. With a formal asymmetric shape, this vase intentionally assumes its “solitary” function DESIGN Carla Rebelo PRODUCTION Jomazé MATERIAL Ceramic j Earthenware TECHNIQUE Filling process size Grxsqxi8 cm Rua Manuel Mafra 75 4°4 200 - 825 Caldas da Reinha Portugal F 00351262 842 884 1M 00351 968 142 372 € catlasrebelo@gralleom Carla Rebelo was born in 1974 in Caldse dda Rainha, Portugal ‘She gradusted in Industrial Design from SAD in Caldas da Reina in 1996 and spe-

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